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Most decidedly an acquired taste, especially for those who want narrative clarity and at least some normative hook to Lynch's in your face approach with Wild at Heart can still be off putting, and the film is Lynch only doubled down on that attitude with his follow up to Blue Velvet, his still extremelyĬontroversial ode to crime thrillers and maybe even film noir that was roundly decried by a host of critics upon its releaseīut which still managed to capture the Palme d'Or that year at Cannes (a disparity of critical reaction that was certainly Seemed to state unequivocally that Lynch was through playing "Hollywood" and was going to make films his way, come Years later with his flawed but still quite fascinating take on Frank Herbert's massive Dune franchise, but he rebounded rather spectacularly with Blue Velvet in 1986, a film which Loved film that this extremely odd little outing announced an incredibly distinctive talent, something that becameĬompletely obvious with Lynch's first mainstream feature, The Elephant Man. Eraserhead took a while to find its cult audience, but it was apparent to anyone Silence throughout the film, not having the slightest idea if Lynch was a genius, a madman, or some new mutantĬombination of the two, a reaction I daresay has been shared manifold times by other film fans as they've experiencedĪny number of Lynch outings. Going back for a second helping (of not quite dead yet chicken, perhaps?) and wanted company.
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I still remember beingĭragged off to an art house in San Francisco by a buddy of mine who had just gone to see Eraserhead and was One of this select few is undoubtedly David Lynch. Watched a movie by that given individual. There are very few directors whose films make such an impression that lots of viewers can recount the first time they
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Reviewed by Jeffrey Kauffman, April 23, 2014
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